**** MSMAN.FEB *****

Introduction.
 
To begin to describe the use of the MS program the process of setting up a
typical page of music will be traced  in detail.  This section will by  no
means touch  on  all  the  features  of the  MS  program,  nor  will  full
explanations be given for each step.  However page references will  appear
showing where complete descriptions of the features may be found.
 
At the top of each page in the following examples the composer's  original
manuscript appears.  Next is  a listing of the  input file containing  the
main information for the given manuscript  excerpt.  At the bottom of  the
page is the same music as it  will appear on the graphics display  screen.
It must be  emphasized that this  is just  the first step  in the  process
which will lead to the final output.   After this step is complete for  an
entire piece or  movement the files  produced will be  reprocessed by  the
page layout program, "PAGE".  In general, no major editing should be  done
until after the page layout program  has been used to establish the  final
format.  This program will be explained in detail later.
 
The given examples have line numbers.  If you are typing input
directly to the MS program do not include these line numbers.
To start the program you type "R MS<cr>" and then proceed
directly to data such as that in line 100 of the first example.
In addition to being able to type directly to MS it is possible
to set up your input using one of the standard computer "editors".
If you use the "SOS" editor your input will have line numbers.
Other editors do not use line numbers.  When using an editor your
input will be saved in a "file" with a name given by you.  When
preparing files for use by the MS program the file names cannot
have more than 5 characters.  When you have finished an edit file
with the name SON1A, for example, you then type "R MS<cr>", then
"READ SON1A<cr>".  If there are no errors your music will appear
on the screen.  The "READ" feature reads from edit files any of
the commands that might have been given to the MS file by typing directly.

In the first input step several  items in the original manuscript will  be
ignored.  These items will usually  include tempo indications, some  slurs
and ties, most words, etc.  All these  things are to be entered after  the
final format  has been  created.   (In most  cases,  if these  items  were
entered in the early  stages, they would just  have to be re-edited  after
use of the PAGE program.)
 
In almost every  case it is  best to enter  the bottom staff  of a  system
first.  The main reason  for this is  that all bar  lines that cover  more
than one staff are always considered to go upward from some staff.  In the
example at hand  all the  bar lines  will be  entered only  on the  bottom
staff, Staff 0.  They will however extend  to the top of the upper  staff,
Staff 1.  The line containing the bar lines should go in first because the
extra space the bars need is  automatically provided.  If there are  notes
already in position on other staves, this extra space cannot be given.
 
The usual method of entering data is initiated with the word IN.  When the
program sees IN it checks to see if staff lines have already been  entered
at the position indicated by P2.  If there is a staff already present, any
numbers following IN will be ignored, otherwise a a staff will be  created
in the proper position.

At line 100, Example 1, the word IN is  followed by a group of parameters.  The  first
zero, P2, refers to Staff 0.  (The  word IN is P1.)  The second zero,  P3,
means that Staff 0 will begin in horizontal position 0, the far left  side
of the page.  The third zero, P4,  means there will be no vertical  shift.
The last number, P5, is set to .9,  meaning the staff size will be 90%  of
the default size.  Since no other parameters are mentioned, they will  all
use their default values.  (For example, P6, the right horizontal position
of the staff, will become 200, the far right edge of the printed page.
Line 200 will tell what  portion of the staff will  be used for the  input
which will follow.  The  zero says that the  default values will be  used.
This means that the full range of the line, 0 to 200, will be used.   (The
numbers, "0 200", could have been typed.)
 
Line 300 contains the main  body of the input for  the bottom line of  the
music.  M2  means we  will begin  with  a measure  line at  position  zero
(because of the  statement in  line 200)  which will  cover a  total of  2
staves, Staff 0  and Staff  1.  Each  particular item  in a  line will  be
delineated with a slash.   When there is  no more of  the current type  of
input to come a semicolon is used.
 
Next in line 300 comes the clef designation, BA.  BA=bass clef,  TR=treble
clef, AL=alto clef, TE=tenor clef.  These  are the only clefs that can  be
entered at this time.  However any of the other clefs may be created  with
the editing methods.  If no clef is given notes will appear in position as
if the treble clef were being used.   Sometimes you may wish the notes  to
be in position as  if there were  a bass (or  other non-treble) clef.   In
this case  precede  the clef  code  with a  minus  sign.  In  effect  this
produces an invisible clef which has no space requirement.
 
Next comes the time signature, or  meter.  The time signature will  always
be made up  of the letter  T followed by  a number, a  space, and  another
number.  Thus "T6 8" will give the 6/8 meter.  Almost any two numbers  can
be used here.  For the  special meter signs for  common time (C) and  Alla
Breve use "T99 1" and "T98 1" respectively.
 
The next few entries are for the notes of the bass part.  The first entry,
"OE2", is  special however.   The letter  O indicates  that the  following
notes will be entered in "ordinary"  mode.  Every note will be  considered
to be in the  octave range of  the last given  octave number.  The  octave
range numbers begin with C1,  the lowest C on  the piano keyboard.  C4  is
middle C, C6 is the high C of the  trumpet, C2 is the low C of the  cello.
The B just below middle  C is B3, etc.  After  the first octave number  is
given, the octave range numbers need appear only if the notes enter a  new
range.
 
A little further  down line 300  you will find  "M2".  This indicates  the
next bar or measure line.  Immediately after this comes "PB2".  The letter
P tells the program to go into "proximity" mode in relation to the  octave
ranges of all the following input.  This  means that as long as no  octave
number is given,  each succeeding  note will  be at  the closest  possible
position to the preceding note.  Thus the sequence "PB2/CS/D" will bive us
the B2, C#3, D3.  If the letter P  had not been typed, the C# and D  would
have appeared in the octave range  2 instead.  Take note of the  following
example.  If /OC4/G/ is typed, the G will appear a fifth higher (G4)  than
middle C.  However if we  type /PC4/G/, the G  will appear a fourth  lower
(G3) than the C because this G is closer to middle C than is G4.  Remember
that the letters P and O are "sticky", that is the effect of either one of
them remains constant until the other one appears.  When you first run the
program the letter O is  understood.  However, it is  a good idea to  give
either an O or P at the beginning of your note input.
In line 300 a few accidentals appear, sharps and naturals.  Simple letters
are used for these.  F=flat, S=sharp, N=natural, FF=double flat, SS=double
sharp.  Line 400, the continuation of the note input line, begins with  an
R.  This is the code  for a rest.  Notice that the time values for all the
notes and rests will be given in  the next line of input.  Some people  at
first think it might be easier to  type both the notes and rhythms at  the
same time.  Experience has demonstrated that it is much faster to separate
the input  into various  "passes".  The  major pitfall  of the  multi-pass
input system is that if  one has accidentally omitted  either a note or  a
rhythm, it  is sometimes  difficult to  find  the error.   It is  easy  to
develop typing habits that will minimize  this problem.  In some cases  it
might be best to type only one measure of notes per edit line, and then do
the same with the rhythm input.  Probably it is sufficient just to  insert
extra blank spaces in the input lines wherever bar lines appear.  This way
any errors can usually be found rapidly.
 
Line 500 contains the rhythmic input.  Most of the simpler rhythmic values
can be  entered  with  letter names.   E=eighth,  Q=quarter,  S=sixteenth,
H=half, W=whole, T=triplet.  This last is a bit ambiguous.  The T alone is
taken to mean 3 notes  in the time of 1  quarter note.  Since these  notes
look like eighths they are called eighth note triplets.  Thus T8 and  just
T would have the same affect.  For 16th note triplets type T16, etc.   For
more flexibility, numbers may be used for all rhythmic input.  The numbers
used will  be  the  bottom portion  of  the  rhythmic fraction.   16  =  a
sixteenth note, 8 = an eighth note, 4 = a quarter, 2 = a half, 1 = a whole
note 32 = a thirtysecond note, etc.  Using this system then an eighth note
triplet can be expressed as a 12 -- there are 12 of them in a whole  note.
A note which  occupies 1/5 of  a quarter note  is expressed as  a 20.   (4
times 5 = 20) In this way any rhythmic value can be expressed.  The number
used always indicates how many equal values are needed to make up the time
of a whole note.  Dotted rhythms are typed by simply adding dots to either
the number or letter used.
 
There are  several ways  to  deal with  strings  of repeated  rhythms  (or
notes).  In line 500, EX12/  means there will be  a sequence of 12  eighth
notes.  Then SX4/ gives four 16th notes, etc.  This same system will  work
with the input of notes.  (FX5 gives  a string of five Fs.  But note  that
CSX5 will give a string  beginning with a C# followed  by four Cs with  no
accidentals  in  front  of  them.   This  is  in  keeping  with   notation
traditions.  If you want all the Cs  to have sharps in front of them,  you
must be specific: CS/CS/CS/CS/CS/.)   Also any entry  of notes or  rhythms
may be repeated by  just typing another slash.   The slash always  repeats
the last item specified.   16////// then is equivalent  to 16X6/.  In  any
case it is always a good idea to leave some spaces to show where  measures
are divided.  e.g. 4///16////  ////2./ shows we have  two bars, the  first
with four quarters and four  16ths, and the second  with four 16ths and  a
dotted half.
 
Line 600 has the entry of some  marks that are attached to specific  notes
or can get their  positions from the  note positions.  On  page of the  MS
Manual there is a full  list of the various items  that can be entered  at
this stage. In the case at hand the fingerings appearing in the third  bar
are given.  F5 13 17/ means that  the fingering number 5 should appear  on
notes 13 and 17.  For this purpose the notes are always numbered according
to the order in which they appear.  However when there are chords all  the
notes of a chord are given only one number since the notes all will occupy
the same rhythmic position.  Rests are not counted at this point.
 
Line 700 gives information about the horizontal beams which often  connect
the note stems.  In this case "3B;"  has been typed.  This means that  the
beams will connect 3  eighth notes at  a time.  If the  piece were in  2/4
time you would probably type "2B;", thereby causing the beams to connect 2
eighths at  a  time.   This system  will  only  work when  the  stems  are
connected in a consistent  manner for the entire  line of input.   However
irregular beaming presents no problems and will be explained later on.
 
If there were any ligatures (slurs and ties) they would have been  entered
in line 800.  Comments concerning lines 1700 and 2300 will tell more about
this.
 
We could have temporarily  ended our input with  line 800.  If only  these
first 8 lines were entered our display would show just the bottom line  of
the music printed below the input example.  Before adding other parts  the
information in line 900  must appear.  "SP 0"  tells the program that  all
further entries will be spaced according to the rhythms given on staff  0.
At this  point care  must be  taken that  the rhythms  appearing on  upper
staves will add up to exactly the same total as that found on staff 0.
 
Line 1000 tells the program  that we will enter data  on staff 1 (P2)  and
that the  staff will  appear 3  scale steps  (P4) higher  than its  normal
position.  P5 gives the size factor, .9.
 
Now we do  not give  any information about  which part  of the  horizontal
space on staff 1 will be used because all the postions will be governed by
the the rhythmic  spacing found  in staff 0.  (See line  700.)  The  input
given on line 1100  is very similar  to that found  on line 300.   However
there is no  mention of measure  lines (M/) since  the these were  already
provided for on staff 0.
 
You will notice that the upper part of this manuscript includes 2 separate
parts with stems going opposite directions. At this point a VERY IMPORTANT
RULE must  be  followed.  Since  2  different rhythms  cannot  be  entered
simultaneosly the most active parts must always be entered first.  This is
necessary so the PAGE program will  be able to provide the required  space
at all times.  In this case then, the clef (TR), meter (T6 8) and all  the
notes for the first measure are given in the usual way.  A space has  been
left before the "E" just to show where the second group of 6 notes begins.
In the second bar  the most active  part has its  stems down.  "SD/"  will
cause all further notes to appear with their stems down until "SU/" (stems
up) is entered.  The second half of bar 2 has as the most active part  the
notes with their stems up so now "SU/" is used.  The last bar also has the
stems up so no further changes  of this sort are needed.  IMPORTANT:  Once
SU or SD appears in the input the automatic stem direction features remain
disabled for that given line.  Every change of stem direction must tnen be
indicated.
 
IMPORTANT RULE  ABOUT ENTERING  CHORDS.  The  first note  entered for  any
chord must be the note that represents the source of the stem.  The  order
of entering other chord notes is free.  The stem direction of any chord is
determined by the relative postions of the first given note and the  other
notes.  In the second half of line 1200 we find "FS4:B/".  In this case  a
two-note chord is formed with a stem  going upward from F-sharp to B.   If
the B were given first the stem would go downward from the B regardless of
any SD or SU commands.
 
Line 1300 ends with "BA;".  This will put a bass clef at the
end of the line.  The composer did not ask for this clef change
but since the right hand part in the next measure lies in a very
low range the appearance of the music will be improved by using
the bass clef.

There is only 1 new thing to be found in the rhythmic input on line  1400.
The triplet group in the second bar is given as 3 24th notes.  This is the
proper numeric value  in relation  to the other  8th and  16th notes.   24
means that each note is  of a duration of 1/24  of a whole note.  (Or  you
can consider  that there  are  3 notes  in the  time  of an  eighth  note.
3x8=24.)
 
There are no marks, so line 1500 has only the terminating semicolon.   The
rhythms are beamed in groups of 3 eighths at a time, hence 3B; is given in
line 1600.
 
Line 1700 tells the program  to put a slur from  note 20 to note 22.   The
"22" is preceded by  the digit "1".   This tells the  program to make  the
slur with the curve going upward and to put it above the notes instead  of
making it with the  a downward curve  and putting it  below the notes,  as
would be normal for  notes in this  position.  If only 1  or 2 digits  are
used for  the  second  number  the  slur  will  always  be  drawn  in  the
traditional position considering  the notes involved.   When nxx is  given
for the second number the curve can be  forced to go up by making n=1  and
the curve will go  down when n=2.   The small number  3, for the  triplet,
must be added later.
 
This completes the  first segment of  input for the  upper line.  Now  the
rest of the notes for bar 2 must be entered.  Line 1800 has simple  "IN1".
No other parameters are needed since staff 1 is already established.  Line
1900 begins with  "RI".  RI stands  for "invisible rest".   This is  given
here and at the end  of the line so that  the correct total rhythm may  be
entered.  We will  be giving  notes for bar  2 but  bars 1 and  3 need  no
further input.  Line  2000 will  have th  rhyhtmic values  of the  visible
notes as well  as the  invisible rests.   Without the  invisible rests  it
would be impossible to coordinate the notes positions with the bottom line
of the music.
 
Lines 2100 to 2300 are as above.  The tie in the manuscript between the  2
B's in the second measure must be added later because we had to enter  the
first B  in set  of input  and the  second B  in another  set.  (This  was
necessary so that the most active parts would appear first.)  Again, it is
best to wait until after the PAGE program has been used to add most of the
things that cannot be positioned automatically.
 
Line 2300 ends the basic  input for these 3 bars  of music.  Line 2400  is
one of the MS program's editing commands.  ST 0 4 means to look on staff 0
for every item using the code number 4 (bar lines, etc.).  Since the items
are located in the same order as they were entered, the first bar line, to
the far  left,  will  come into  "Edit  Mode".   Now any  of  that  item's
parameters can be changed.   The original form of  this item was a  simple
bar line extending to cover  a total of 2 staves.   In line 2500 "7 5"  is
given.  This puts into parameter 7 the number 5, which causes the bar line
to turn into the bracket which is normally used for piano music.  The  "C"
in line 2600 means  a COPY of  the item, with the  given changes, will  be
added to the list  items.  (If "X" were  given instead, the program  would
exit from Edit Mode  and the original  bar line would  be REPLACED by  the
edited version, i.e. the bracket.)
 
Line 2700 saves the input under the name AAAAA.4.  Five-letter names must
always be used.   The last 2  or 3 letters  must be kept  in some  logical
alphabeticl order.  This is necessary so  that the PAGE program and  other
programs can automatically read many  separate files in the proper  order.
The extension, ".4" which can include up to 3 characters after the ".", is
usually used to identify movement or section numbers.
 
Typically the composer's manuscript might include 5 systems of music on
each page.  If this were the 4th movement of a work the file names used
might be AAAAA.4, AAAAB.4, AAAAC.4, AAAAD.4, and AAAAE.4.  Then the second
page of this movement would begin with AAABA.4 and continue with AAABB.4, 
etc.

After a portion of work is complete and saved you must type
"RS" (=restart) to clear the screen in preparation for the
next input unit.

An "IN" statement begins the next system of music.  Since no
other parameters are given, default values are assumed.  Hence the
next input will go on staff 0 and the size factor, P5, will be
set at 1.  This is different from the size factor (.9) used for
the first system.  However this is of no importance since the
PAGE program will adjust all the staff sizes to conform to the
sizes found in the first system.  Likewise, the PAGE program will
automatically set up the front portion of each system based on
the first information given.  Clef changes will hold until further
changes are given.  Thus PAGE will automatically put into the
upper line the bass clef which was typed in at the end of the
first system.

Because no clef information is needed the position for the beginning
of the input can be set to any small number greater than 0.  (10 is used
in line 200 of Example 2.)

Line 300 begins with -BA/.  This means that the following notes
will be positioned as if there were a bass clef even though none
appears.  The rhythmic input here offers no new problems.  The beams
in the lower line do not follow a fixed rule so specific note
numbers must be given (line 600) to tell which note stems are to
be connected.

Line 1000 has input for the right hand of this segment.  The
composer's manuscript will be edited at this point to put all of the notes 
of the first measure into the bass clef.  Because of this the D major
chord will be entered with the D4 first so as to cause the stem to go down.
However the triplet figure on C4 must have the stems up because
there are two different rhythms going on at once in the right hand.
SU/  will force the stems up for the triplet.  The B major chord
will have its stem down because the B3 is entered first.  However
SD/ must appear to make the CN3 also have its stem go downward.
After the rests a TR/ must appear so a treble clef will be seen just
before the next bar line.  Also an SU/ must be given so the next
bar will have the stems up.

The triplet sixteenths are entered as 24th notes.  The various fingerings
are given on lines 1300-1400.  On line 1500 3B; will take care of all
the beams.  When this automatic feature is used the program starts
adding up rhythmic values from the first note or rest appearing in
the line.  If 3B is given then the program will find any rhythms which
would traditionally be connected by beams within the first three eighths
encountered, and so on.  In the second measure the secondary 
beaming of each 3-note group is not done automatically.  It is not
difficult to make these divisions by means of later editing.

The one slur is given on line 1600.  The left hand digit (1) of the 104
causes the slur to appear above the note stems instead of below the
note heads.

Line 1700 begins the input for the missing chord in the right hand part.
In line 1800 the RI's (invisible rests) will take care of all the unused rhythmic
values in the line so that this section of input will have the same
total rhythmic value as the previous sections.  At the end of the
line, 1 8; is the remaining total of blank rhythm. That is, 3 eighths in
the first bar and 6 eighths in the second bar.  9 eighths is the same as 1 whole and 1 eighth.

No marks, beams, or slurs are needed so G; in line 2000 means GO.
Finally this entire segment is saved under the name AAAAB.4.

From this point on only a few things will be mentioned as the relation
between the manuscript and the computer input should be clear.
In Example 3, line 1400, the B octaves are indicated by B+.  When a
plus sign follows any note the same note an octave higher will also
appear. The stem will go up.  If a minus sign appears, the same note
will appear an octave lower and the stem will go down.  (In this case
the composer's manuscript has been edited to change the stem
directions at many places.)

In Example 4, line 800, the ties are given with the second number
in each case being negative.  This will cause the curve of each tie
to go downward.  However in the example of the screen output at the
bottom of the page you will see that the ties do not appear in the
correct positions.  This is because the left hand part changes from
one note at a time to two.  As a result the program does not realize
that these are not to be interpreted as slurs.  In any case it is an
easy matter to edit these to the proper positions later on.  (Don't
forget that it is usually best to do no editing until after the PAGE program
has been used to achieve the piece's final format.)


The procedures given above should be followed until a complete piece or
movement has been entered.  This will usually include all the notes up to some
point where you are sure you will want the music to exactly fill
the last of a number of pages.  For the present purposes we will
assume that the end of Example 4 marks one of these end points.

The PAGE program.


Following is a list of the exact responses to be given to the
PAGE program.  The things you should type are in brackets.
Do not type the brackets.

[R PAGE<CR>]

1=PARTS, 2=PAGE LAYOUT, 3=TRNSP ONLY, <CR>=OLD   [2<CR>]

TYPE FILE NAME -- [AAAAA.4<CR>]

AAAAA.4  
AAAAB.4  
AAAAC.4  
AAAAD.4  
STAFF SIZE= .90  CHANGE TO [<CR>]

INDENT?  [<CR>]

FIRST PAGE NUMBER(0=1) AND PAGE LENGTH(0=10) -- [<CR>]

TRANSP.= [<CR>]

NUM. OF SYSTEMS/PAGE = 5
CHANGE TO -- [4<CR>]

FIND PAGE TURNS?  [<CR>]

TOTAL BAR LINES= 10
NUMBER OF BARS PER LINE
AVG=218  MIN=194  MAX=255
 194 (BAR  1)      70   64   60
 206 (BAR  4)      64   77   65
 255 (BAR  7)      67   58   64   66
  0.75 PAGES
  3 LINES    10 BARS

TYPE LAYOUT NUMBERS(-1=HELP)-- [1 4<CR>]

AVG=163  MIN=132  MAX=194
 194 (BAR  1)      70   64   60
 141 (BAR  4)      64   77
 132 (BAR  6)      65   67
 188 (BAR  8)      58   64   66
************
  1.00 PAGES
  4 LINES    10 BARS

TYPE LAYOUT NUMBERS(-1=HELP)-- [<CR>]

TYPE FILE NAME  [AAAAA.MV4<CR>]

AAAAA.MV4
AAAAB.MV4
AAAAC.MV4
AAAAD.MV4
Exit
↑C
.

For the time being we will be concerned only with the page layout
capability of this program so "2" will be our first response above.
The first of our file names was then given.  Because the files were
named alphabetically, they will be read into PAGE in the right order,
AAAAA, AAAAB, AAAAC, AAAAD.  At this point PAGE takes all the input and
makes it into one long, continuous line of music and stores this on a
series of files called PAGEA.PAG, PAGEB.PAG, etc.

Next the size factor of the bottom staff is printed out. (.9 in this
case.)  A <CR> or 0 leaves this unchanged.  Any other number typed here
will cause all staves to change their sizes relative to the change given
for the bottom staff.  That is, if the bottom staff size had originally
been 1 and the staff above had been size .8 and the number .7 were typed
here, then the bottom staff would have size .7 and the staff above would
have size .56. (.7*.8=.56)

The next prompt, "INDENT?", allows you to indicate the amount by which
you might want the first system on the page to be indented.  The units
to be used here are the horizontal space units used in editing.  The
standard, full-width staff is 200 units wide.  This equals approximately
7 3/8 inches at normal printout size.  If 25 were typed here the first
system would be indented 25 units, or about .922 inches.

For the next prompt you may give two numbers.  If no page number is given,
page 1 is assumed.  The normal height of the printed area of a page is
about 10 inches.  A different number here will influence the way PAGE
decides on how many systems can fit on any page.

Almost any transposition can be given.  However, with piano music
quite a bit of later editing is necessary if the transposition is
greater than 1 or 2 steps.  The responses to this prompt are usually
given in terms of transpositions of orchestral instruments.  For example
if this were to be transposed for carinet in B-flat you would type BF.

Next you are told how many systems at the given size will fit
conveniently on the page.  Sometimes you might want to put more
systems on the page than the program suggests, but usually this will
lead to overcrowding.

The page turn prompt is only significant when dealing with single-line
systems, such as orchestral parts.

Next PAGE tells you its decision about the placement of the measures.
In general it is best not to try to crowd things more than PAGE has done.
Following are all the lines of music listed with their ideal lengths.
A line is printed telling what the average, minimum, and maximum
lengths of the lines are.  The units used are the horizonal editing units
(200 = normal full width).  At final printout time all these lines
are adjusted to fit into exactly 200 units.  Thus the first line, which
is listed at 194, would be expanded slightly to fill up 200 space units.
The other lines would be contracted (crowded) to fit into 200 units.
The length of each line is given, as well as the length of each measure.
The next prompt asks if you want to change the layout.  At this point
1 4 <CR> was typed.  This told the program that there would be 1 page
with 4 systems on the page.  Then the program printed new information
on the layout of the page.  This time all the lines produced numbers
under 200, indicating that all items now have ample space.  A <CR>
given to the repeated layout prompt indicates acceptance of the given
format.  If a mistake is made here you can "CALL" out of the program, restart
it and give a <CR> to the first prompt.  This will bypass the file input stage
of the program and go directly to the staff size question.

The last prompt is "TYPE FILE NAME?"  You should give some five letter
name, best ending with AA.  A separate file will then be written out
for each system
wherein the material on the first page will be in files ending AA, AB, AC, etc.
The second page's files will end with BA, BB, BC, etc., and so on.